![]() ![]() Tracks 16 - 25 are from the bootleg LP "Same As The Cavemen" (What's The Beef Records – SO WHAT 2). Tracks 03 - 15 are from the bootleg LP "Tales From The Cramps" (CAVE RECORDS 001). ![]() Tracks 01 - 02 are from the bootleg 7" single "Dance Of The Cannibals Of Sex" (FAMOUS LUX - LUX 102). Total length of this compilation = 74 minutes approx. Master TDK-SA source tape -> Aiwa AD-F770 Cassette Deck (play, with Dolby NR off) -> SB Extigy soundcard -> CoolEdit Pro 2.1 -> WAV -> TLH -> FLAC 8 &. Various vinyl bootleg-sourced demos & live bits, as shown below.īootleg vinyl -> unknown hi-fi record deck -> Nakamichi 3-head dual capstan cassette deck (record, possibly with Dolby B turned on) -> TDK-SA (Type II) cassette tape ![]() Produced by Cheryl Pawelski with mastering by Mike Graves at Osiris Studio and Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis, who brings it all right back to where it started.The Cramps - 1977-1979 - Early live + demos Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer. Liner notes by Peter Holsapple tell the story of these recordings firsthand and author/filmmaker/Memphian, Robert Gordon, helps pull the time and place into focus. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.” Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (“Bad Reputation” and “We Were Happy There”) and on an album by The Troggs (“The Death Of Rock” retooled as “I’m In Control”), so not a loss at all. He told Peter, “I heard some of that stuff you’re working on with Richard… and it really sucks.” Alex promised to come by and show Peter “how it’s done.” Together Richard and Peter started laying down tracks during the off hours at the studio.Ĭhilton meanwhile, was knee deep in the making of Like Flies On Sherbert, also being tracked at Phillips. He hooked up with musician/engineer/friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Peter Holsapple had rolled into town chasing the essence of Big Star. It’s 1978 at Sam Phillips Recording Service in Memphis, TN. ![]()
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